Inside facts of stage and screen (June 21, 1930)

SATURDAY, JUNE 21, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE ELEVEN “CRIME” PRESIDENT THEATRE LOS ANGELES (Reviewed June 16) Flitting from scene to scene like a talkie, this Sam Shipman-John Hymer melodrama proves conclu- sively that “crime does not pay.” Virtue must, will, and does triumph —on the .stage. Between 8:30 and 11 p. m., the local Broadway sounds like July 4, 1918, on the Western front. Dur- ing that time the steady thunder of guns rolls from the President, and from the Majestic down the street, catching the unwary pedes- trians in a withering cross-fire. But after the smoke rolls away and the bodies are gathered _ up, two eminently satisfactory things stand out—a new, smooth, polished Kenneth Diagneau as the leading super-crook, and a Flora Bramley, who convinces that she is headed straight for stardom. The story offers Daigneau as a man of wealth and culture who takes to crime as a sport, and dominates a gang of evil under- world people. Circumstances bring him a youthful couple, Miss Bram- ley and Leonard Strong, whom he starts to train to crime. A deep- dyed dastard, played by Jerome Sheldon, and a cheating moll, by Marie Myers, furnish conflict. A big daylight robbery precipitates a murder by Sheldon, and a gang quarrel brings about the killing of Sheldon by Daigneau. The de- nouement comes in police _ head- quarters, where Daigneau signs a confession in order to free the young romantic couple from com- plicity. Daigneau has been observed in many and various type roles,_ but never has he been seen so polished and dominating. And Miss Bram- ley, watched since her emergence from dramatic embryo, looms as one of the most promising ingen- ues. Leonard Strong also deserves praise for his juvenile work. A big supporting cast included Frank Killinger, as a policeman; Francis Bolger, Arthur Welling- ton, George Henry Trater, Raff Belmont, George Glasgow, David Prince, Carl Rattan and John Dut- ton, crooks; Katherine Windsor and Helen Kleeb, bits, and William Abram, police inspector. There were four acts, divided into eight episodes. It is strictly elementary, drama, which many in the first night au- dience found to their liking. Many were the frenzied outbursts of ap- plause as villainy was foiled from time to time, Edwin H. Curtis directed the production; scenery for the numer- ous sets by Rita Glover. A so- called radio broadcast, without which a present-day crime produc- tion cannot be complete, was hay- wire. Business was fair. YEATES. ‘NANCY’S PRIVATE AFFAIR’ EL CAPITAN THEATRE HOLLYWOOD (Reviewed June 15) A delightsome, gladsome, intrig- uing frolic, refreshing, entertaining, amusing, and all that sort of thing. Really a treat. Nancy lost her husband’s af- fection because she settled down and became a mudhen, satisfied to merely keep the nest warm and occasionally lay an egg. Hubby was a playwright, making lots of jack, and sure enough, a perky lit- tle gold digger came along and vamped him. Another playwright, friend and collaborator, gave some sparkling advice, which Nancy took in her own way, and therein lies the play. How Nancy framed Peggy the Gold Digger into falling for a fake title and mythical fortune, thus leaving hubby with nothing to do but fall back into wifie’s arms, is told with much bright conversa- tion, well spiced and full of pleas- ant laughter. Rightfully starred as Nancy, Minna Gombell, of the original New York cast, brought remark- able ability, beauty and smart gowns to bear with full force. She deserves to be Hollywood’s reign- ing queen, for the present at least. In main comedy . support ap- peared Ernest Glendinning, splen- did polite comedian, who delivered his bright chatter as though he be- lieved in it and garnered an abun- dant share of tribute. He was the playwright, friend and collaborator, hornswoggled into making love to his best friend’s wife. The husband role was handled by Donald Douglas, seen here in “Follow Thru” and the picture “Great Gabbo.” He was generally competent, although slightly over- playing at times. Peggy the Gold Digger was portrayed by E.ffie Af- ton, without overmuch brilliance. Mia Marvin contributed a pleas- ing personality to an. incidental part as Nancy’s sister, and Kathryn Givney provided a dash of color as Peggy’s conspiring mother. Layland Hodgson handled the. role of the fake, titled “diamond king,” quietly and in good taste. Donald Campbell and Margaret Booth contributed servant roles. The production moved smoothly, without a visible, muff, and at a piping speed. Ernest Glover’s sce- nic . effects were excellent. Busi- ness was very good. YEATES. “UNDER A VIRGINIA MOON” VINE STREET HOLLYWOOD (Reviewed June 16) A mildly diverting comedy, set in a southern atmosphere, with the introduction -of songs and danc- ing, this production, which is pre- sented by George Fawcett, doesn’t look like a robust bet to weather the current stiff competition in theatres here for long. It lacks the thematic intensity and suspense needed to -attract wide attention, and though it af- fords Percy Haswell (Mrs. George Fawcett) opportunity for neat characterization as the -charming, flighty southern lady, it presents no outstanding -punchy opportuni- ties for dramatic fireworks, mean- dering along through a fair amount of humorous situations to a -trite and semi-musical comedy ending. Vernon Steele was excellent as the irresponsible husband who -gets divorced and remarried by the charming lady. Pierre White, mu- sical comedy baritone, handled his lawyer role nicely and sang ef- fectively. Outstanding in the balance of the cast was a colored -chap, Clar- ence Muse, -who ingratiated him- elf by his performance and sing- ing in the role of a colored servi- tor. Others in the cast were: Alber- tina Pickens, Edna West, Grace Good-all, Randolph Scott, Cul.cie Cooper, Wauna Lestrell, Marion Delara, Carol Marmo-n and Scun- ner Foster. The piece wa-s directed by Ed- ward Eisner. The incidental slongs used were written by Neil Moret, Clarence Muse and Leon -and Otis Renee, outstanding tune being “Sleepy Time Down South.” One set was used throughout, an exterior, nicely done by M. Alexander :in the conventional man- ner, depicting the house and gar- den of a southern mansion. Music was by the Bendix Trio under the direction of Theadore Bend-ix and was nicely handled. While possibly -able to do well for several -weeks, the play doesn’t look strong enough ,to stand up for long, -and -as presented here demon- strated minor picture potentialities. FLOYD. CHANGES IN IDEAS LOCATION FINISHED Richard Thorpe has completed 10 days of shooting on location at Riverside for Tiffany’s “The Thoroughbred,” formerly called “His Last Race.” GEORGE and FLORENCE BALLET MASTER AND MISTRESS Formerly 68 Successful Weeks Producing Weekly Changes in Australia’s Largest Theatre THE STATE, SYDNEY Producers Desiring Originality WRITE or WIRE Permanent Address; INSIDE FACTS, Los Angelea SHOW PRINT MA. 1681 -224 E. 4th St., Los Angeles- MA. 1682 ALLES ‘HOT ’N’ BOTHERED’ GREEN STREET SAN FRANCISCO (Reviewed June 5) Sid Goldtree has another of hia French farce-s which have made him and the Green Street famous and recently have kept him em- broiled in court entanglements with the bombastic Capt. Layne and his squad of moralists. The way “Hot ’n’ Bothered” lined up at this -opening night’s showing it’s an innocuous sort of a thing that probably will be speeded and spiced up to suit the Green Street clientele. The tiny 365-seat upstairs -house, patterned -after the lines of the Bohemian theatres that once were a vital part of the old and less sedate San Francisco, has a -stage that, at the most, has a proscenium of about 30 feet and a depth of about 25 feet. There’s -one set, and to change the settings drapes are hung over the windows, -doors, etc. On this -postage-stamp size stage Hugh Metcalfe handle-s a cast of eight, putting them through plenty of exists and entrances so there aren’t more people than space will -permit. For his agility in this respect Metcalfe deserves a loud huzzah. The cast is headed by Germaine del Neel, who makes a very strik- ing appearance, is full of pep and who is expected to draw ’em into this house once the word of mouth starts working. Her one bad point, at the first show, was that she talked too fast. Joseph Kemper takes the male lead, the part of a man who hypnotizes the gals and makes ’em try to do things t-o suit him. He’s good in the part and handles his lines and busines-s well. Metcalfe does the role of a bache- lor; Betty Blossom is seen as a maid and good, too; Larry Cook does a comedy part in fine style; Gudy Swanson and Vada Heilman are -okay in the roles of wives; Bruce Payne completes the cast in a husband’s part. Preceding and between -acts Billy Dix-on, m. c.’s, doing rapid fire piano and song work that gets over with the crowd. RUBE. DERR IS NAMED AS FATHE HEAD E. B. Derr, who for the past six months has been in charge of pro- duction at the Pathe West Coast studios, has been elected president of Pathe to succeed J. J. Murdock as the executive head of the or- ganization and all its subsidiaries. Joseph P. Kennedy remains as chairman of the board of directors and C. J. Scollard, formerly treas- urer of Pathe Exchange, Inc., suc- ceeds Mr. Derr as executive vice- president. Other officers elected at the special meeting of the board of directors include: Lewis Innerarity, vice-president and secretary; Ar- thur Poole, treasurer, and T. S. Delehanty, assistant treasurer and assistant secretary. Coincident with the election of officers, E. B. Derr announced that production of Pathe’s 1930-31 prod- uct was well under way with five feature-length attractions complet- ed and more than twenty-five per cent of the short subjects already in the exchanges ready for release. GIVEN RKO CONTRACT A five-year contract with Radio Pictures has been given Lita Che- vret, exotic brunette. It was awarded on the actress’s 22nd birthday. Miss Chevret formerly was a dancer with Fanchon and Marco; dance director with War- ner Brothers Studio, and a mem- ber of Pearl Eaton’s Show Girls at the RKO Studios. Chaz Chase is -out of “Gyp Gy-p Gypsy” Idea commencing Chicago. He will be replaced by Duponts Comedy Jugglers. In “Changes” Idea Waller and Dyer will re- place Eva Mandell at the Wiscon- sin, Milwaukee^ FILM TITLE CHANGED Tiffany’s comedy drama, “Why Marry?” has been changed to “Scrambled Wives.” Frank S-trayer directs, with Rex Lease, Vera Reynolds, Sam Hardy, Paul Hurst, Nita Martan, Charles Sell-on and others in the cast. Artistic Scenic Advertising Curtains By Far the Best in America CURTAIN PRIVILEGES BOUGHT FOR CASH OR SCENERY Chas. F. Thompson Scenic Co. 1215 Bates Avenue Phone OLympia 2914 Hollywood, Calif. WALTER S. WILLS STUDIO OF STAGE DANCING 7016 HOLLYWOOD BOULEVARD GLADSTONE 9602 PROFESSIONALS TAUGHT BY PROFESSIONALS Summer classes for adults starting Monday, June 23—Tap, Acro- batic, Soft Shoe, Eccentric, Waltz Clog, Musical Comedy, Ballet. Children’s classes start June 30—SPECIAL SUMMER RATES EARLE WALLACE Always Busy Developing Dancing Stars but Never Too Busy to Create and Produce Original DANCE ROUTINES and REVUES That Sell Belmont Theatre Bldg., First and Vermont Phone Exposition 1196 Los Angeles, Calif. MURRAY Wtk SCHOOLS STAGE (Associates) Gladys Murray Lafe Page 3636 BEVEBLY BLVD. — Los Angeles — Tel. DTJ. 6721 PRACTICAL STAGE TRAINING STAGE TAP DANCING (In All Its Branches) I BALLET-£°ZX£> By SIGNOR G. V. ROS1 HARVEY KARELS VALUE SCHOOL OF DANCING WE. 6171 GENE 7377 Beverly Blvd. DAVE OR. 2688 WE. 6171 KLIEGL BROS. LARGEST PACIFIC COAST STOCK WESTMORE 6 17 1 PINEAU & HOWSE THEATRICAL STAGE LIGHTING CO. ROAD SHOWS COMPLETELY EQUIPPED COMPLETE RENTAL DEPARTMENT WRITE FOR GELATINE SAMPLE BOOK 1347-49 W. WASHINGTON ST. LOS ANGELES, CALIF. FOOTLITES BORDERLITES SPOT LITES OLIVETTES PORTABLE SWITCHBOARDS DIMMERS GELATINE EFFECTS WESTMORE 6 17 1